Software — ScreenLight

Inside the software

A lighting console and a media server,in one show file.

ScreenLight does not bridge two applications together. Fixtures, playback, timecode and video live in the same document, on the same transport, addressed from the same patch.

PAGES: 11
LAYERS: 4 × 8 × 3
SUBMASTERS: 10 + GM
COMP: 120 fps
ART-NET: 40 Hz
SHOW FILES: 1

ProgramF2

Select, build, record — keypad or screen.

One programmer running at two speeds. Click a head, click a colour, hit Record — that is the whole workflow if you have never touched a console. Groups arrive both ways at once: by type (Spots, Washes, Pixels, Bulbs, Blinders, Hazer) and by where they physically are (Patio, Terraza, Inside, Bar), so you can select the room instead of the rig. Colour by named gel or by picker, position by named preset or by pad. Then, when you want the pro layer underneath, the command line and the encoders are on the same screen.

Simple: click to select, click a swatch, hit Record — no syntax required
Pro: command line with THRU, @ and FULL — type 1 THRU 8 @ 80
Groups by fixture type and by venue area, on the same grid
Every window docks, minimises and records on its own — Reset layout puts it back
Locate, Clear, Prev, Next, Fan and Copy across the selection

ScreenLight Program: Groups and Heads windows above the Colour palette with its picker and the Position palette with a pan and tilt pad, and the encoder rail, command keypad and Grand Master on the right.

ScreenF10

A media server in the same show file.

Layers and columns of clips, mixed through blend modes into one composition master, with three compositions you can cut between. Generators, cameras and external inputs feed it — solid, gradient, checkerboard, grid, noise, bars, circle, lines, line sweep, tiles, counters and clocks are built in, so a wall has something to play before a single file is imported. Output goes to your screens, or straight into Resolume Arena.

Four layers by eight columns per composition, three compositions live
Blend mode, opacity, blind and solo per layer
Built-in generators, live cameras and external inputs as sources
Composition master with opacity, speed and brightness, plus Stop All and Blackout
Map the output — slice a wall with rectangles, circles, polygons or freehand shapes
Plug a monitor, projector or LED processor in and it goes on air by itself
Preview, screen monitor, test pattern and identify — the tools you would use to align a mapped wall

ScreenLight Screen module in Compose: four layers across eight columns with clips loaded on layers one to three, a transport bar with BPM and tap, and Composition, Preview, Screen output and Sources panels below. — Screen · Compose — four layers across eight columns, clips loaded on layers one to three, with the transport, Preview, Screen output and Sources panels below.

ScreenLight Screen output in Advanced mode: a mapping canvas with select, circle, polygon and freehand tools, a slice selected at 1920 by 1080, and a screens-and-slices list showing a main wall and two side screens. — Screen · Output · Advanced — the same module, one tab across. Slice a wall with rectangles, circles, polygons or freehand shapes, each with its own position, size and rotation. The composition above feeds whatever you draw here.

ScreenLight Screen output: a Displays page explaining that a plugged-in HDMI monitor goes on air automatically, the three venue screens listed from the Stage 3D render, and a Screen Monitor showing all three outputs live with test patterns and identify overlays. — Screen · Output · Displays — where it leaves the machine. Plug an HDMI or DisplayPort monitor in and it goes on air by itself, no routing step. The venue’s screens are already listed here, taken from the Stage 3D model before a single physical output exists, and the Screen Monitor watches all three at once with test patterns and identify.

TimecodeF6

Lock the show to the track.

Load a song or take a live input and the waveform lands on the chart. Everything under it is edited the way a video editor is edited: drag a block, trim its edge, snap it to the beat, split it, drop it on another lane. Looks, Playback, Levels and Triggers each get their own lane, cues record straight at the playhead, and the ruler switches between time and bars. No dialog, no mode, no four clicks through a tree to reach a cue.

Record at the playhead — no cue-number bookkeeping first
Drag, trim, split and snap blocks directly on the lane
Read the ruler in time or in bars, at any zoom
Timecode chase, or tap the tempo by hand
Send any block straight to a submaster
Several timelines per show file

ScreenLight Timecode: a loaded track with tap tempo above a cue chart showing the audio waveform and separate Triggers, Looks, Playback and Levels lanes, with snap and a time-or-bars ruler.

Show ControlF11

Build the desk you actually want.

This is the part that makes “no console” literal. Drop faders, buttons, grids, master banks, labels and live monitor views onto a blank board, drag them anywhere, and assign each one to a playback cue or a soft key — GO, Back, Clear, Record, Release all, Blackout, Highlight, Blind, Tap tempo, Panic. Then run the board fullscreen and never see a menu for the rest of the night.

Faders, buttons, grids, master banks, labels and monitor views
Free placement — resize and move anything, then run it fullscreen
Any playback cue becomes a button you can put where your hand already is
Soft keys for GO, Release all, Blackout, Highlight, Blind and Panic
The layout is part of the show file, so the desk travels with the show

ScreenLight Show Control in edit mode: a tools palette of faders, buttons, grids and monitor views on the left, and a board being assembled with live screen monitors, tap tempo, record and GO buttons, a 12 by 8 grid and a row of faders.

Stage 3D · F4

The room, in the application.

The home page shows the idea as a schematic you can aim with a pointer. This is the page itself: the Scene Editor building a venue out of real pieces, and the same room once the rig is lit.

ScreenLight Stage 3D with the fixtures parked dark, showing the Scene Editor library of venue pieces — stage deck, risers, stairs, truss tower, pillar, wall, ceiling, window — over a Pivot 2D plan of numbered fixture positions and the full patched-head list with coordinates. — First the room. The Scene Editor builds the venue from pieces — deck, risers, pillars, furniture — with the Pivot 2D plan in the same panel and every patched head listed with its coordinates.

ScreenLight Stage 3D: a modelled venue with forty-one heads, three screens and fourteen props, eight spots selected and their beams cutting through haze onto the deck, with the scene editor and the encoder rail alongside. — Then the light. 41 heads, 3 screens, 14 props — eight spots selected, beams live in haze, day/night at 84%.

Pivot 2DPlan view · plot sheet

SchematicLights, wall and projector on one measured sheet.

The plot and the show file are the same document.

Pivot 2D is the drawing you would have made in a separate CAD package, except it is live: what is on the sheet is what is patched, addressed and mapped.

The plan is the patch
Every patched head carries an X, Y and Z alongside its universe, address and mode. Move a fixture on the plan and the 3D view, the addressing and the aim all follow it — there is no second document to keep in sync.
One sheet for every device class
Fixtures, LED walls, TVs and projector throws are all drawn to the same measure. Screens are placed in metres and aimed on stage exactly the way a light is.
Cut the wall into whatever shape it is
The mapping canvas slices a screen with rectangles, circles, polygons or freehand shapes, each with its own position, size and rotation, each able to inherit the composition or run its own content. Irregular walls and off-axis panels included.

Keep going

That is five of the eleven pages.

The rest — Home, Playback, Cues, Patch, DMX and Setup — sit behind the same function keys in the same window, and the wiring is written up in the documentation.

Get ScreenLight See the plans